Monday, July 30, 2007
I only saw four of Bergman's films during their American first-run engagements - Cries and Whispers, Scenes from a Marriage, The Serpent's Egg, and Autumn Sonata. Each seemed inexorable, pitiless. Brilliant... His is an almost insurmountable oeuvre.
(Above, Harriet Andersson as the title character in Bergman's 1953 reverie Summer with Monika, initially marketed in the States as an exploitation film. It made the rounds of the hamhock drive-in circuit for years.)
(Click the photo for a larger image.)
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